- The Washington Times - Sunday, October 19, 2003

To be a man

“Is it no longer possible for guys to become adults during their 20s? … A 20-year-old man is at the same level of biological maturity that 20-year-olds were generations before. …

“But despite reaching their peak of physical development and having the capacity for the demands of adulthood, guys for some reason still aren’t making the transition. …

“Bill Gates formed Microsoft at age 20. At 23, Theodore Roosevelt became the youngest man ever to be elected to the New York State Assembly. Winston Churchill became a hero when he escaped from his captors during the Boer War. While captive, he penned the following line, ‘I’m 25 today — it is terrible to think how little time remains.’

“These achievements prove that maturing into an adult isn’t simply the result of accumulating birthdays.”

Steve Watters, writing on “Adult Before 30?” Thursday in Boundless at www.boundless.org

Faking Warhol

“Sixteen years after his untimely death at 58 … [Andy] Warhol is the hottest name, by far, in modern art. His silkscreened prints, with their globally recognized images, have doubled in value in the last three to five years. Prices for his important paintings have risen as much as tenfold in that period.

“But as demand has increased, so has the number of forgeries. ‘Warhol is the most famous artist in America,’ says Manhattan art dealer John Woodward, ‘and the most faked.’ Forgers have a field day because Warhol was also among the world’s most prolific artists — thanks to his pioneering production of ‘mechanized’ art, for which he employed helpers both inside and outside his ‘Factory’ sites. Forgers can start with the same photographic images Warhol did, and sometimes knock off silkscreens only an expert can distinguish from the originals. …

“By the late summer of 1965 … Warhol at 37 had made the leap from commercial designer to Pop-art pioneer. … His first canvasses — comic-book characters, Campbell’s soup cans — had been painstakingly hand-painted, but he soon moved on to silkscreening, which hardly any other artist had tried. Not only was it faster and more profitable, but the assembly-line process of silkscreening seemed perfect for the iconic images he was producing.”

Michael Shnayerson, writing on “Judging Andy,” in the November issue of Vanity Fair

Kid movies

“[W]e have grown so used to the movies’ representation of teenage culture and teenage sensibilities that we could hardly recognize a genuinely adult picture in the unlikely event that one were ever presented for our inspection. …

“[I]f you look closely, you will generally find that any successful movie has learned the lesson of how you make movies that will appeal to 13-14-year-olds, whose dollar is most powerful in the movie marketplace.

“There are quite distinct strategies for boys and girls. … Boy-movies are made for showing off, mainly of special effects. Their aim is to make the audience say: ‘Cool! How did they do that?’ Girl-movies, by contrast, are made for wish-fulfillment. Their aims is to make the audience say: ‘Sigh! I wish I were her.’ Inevitably it is Disney who pushes this concept as far as it can go in ‘Freaky Friday’ — supposedly about a mother and daughter getting inside each other’s heads but really about the mom learning what it’s like to be the daughter so that she stops, mom-like, spoiling all her fun.”

James Bowman, writing on “Adult Movies,” in the October issue of the American Spectator

LOAD COMMENTS ()

 

Click to Read More

Click to Hide